"It's likely that a book like this is the only way you might see many of these creatures for yourself." - Amateur Photographer This book of photographs puts the spotlight on a group of animals that is little-noticed, and undeservedly so: endemic species that exist only on their respective islands. Isolated from continents by the ocean, certain species have been able to evolve further and differently than their counterparts on the mainland, where they are subjected to far more threats such as predators and diseases. Over time, giants like the Indonesian Komodo dragon have evolved, which grows up to three metres long and weighs 70 kilos. The comet moth lives on Madagascar, and the odd King of Saxony bird-of-paradise flies around on New Guinea. The flightless cormorant on Galapagos, on the other hand, retracted its flight instruments over time because it had no need for them. Readers can expect a variety of animal beauty and extravagance. The following locations are included in the book: Island of Sainte Marie (Madagascar) Madagascar Philippines Lesser Sunda Islands (Indonesia) Aru Islands Regency (Indonesia) New Guinea Australia Tasmania (Australia) New Zealand Santa Catalina Island, Channel Islands (California, US) Cozumel (Mexico) Cuba Isla Escudo de Veraguas (Panama) Galapagos Islands (Ecuador) Falkland Islands Svalbard Archipelago Text in English and German.

Who was ultimately responsible for sentencing Jesus to death on the cross? Can we ever be good enough for God? Do all "religious" people go to heaven?

In "Who Put Jesus on the Cross?" A.W. Tozer examines some of the most difficult questions of the Christian faith. His indictment of lackluster belief forms the cornerstone of his appeal as he asks the reader what it really costs to be a Christian.

Tozer inspires conviction that will have you digging deep within your heart to newly realize the meaning of Christ's death and resurrection and discover the "Word of God as the foundation of our peace and rest."

An illustrated biography, this book is the life story of Rachel Cassels Brown, children's illustrator and etcher.

'The crossbill is a bonny bird An she sings wi a guid Scots tongue Jip-jip-jip A'll gie ye gip Gin ye meddle wi me nor ma young' As a result of his travels across the North American continent in the eighteenth century Alexander Wilson pioneered the science of ornithological writing and illustration, becoming an inspiration for most of the ornithological works which followed. This new book celebrates the artwork of Alexander Wilson by reproducing his illustrations alongside new poems in Scots by Hamish MacDonald, looking at the habits, habitats, and characteristics of birds.

Colours of Art takes the reader on a journey through history via 80 carefully curated artworks and their palettes. For these pieces, colour is not only a tool (like a paintbrush or a canvas) but the fundamental secret to their success. Colour allows artists to express their individuality, evoke certain moods and portray positive or negative subliminal messages. And throughout history the greatest of artists have experimented with new pigments and new technologies to lead movements and deliver masterpieces. But as something so cardinal, we sometimes forget how poignant colour palettes can be, and how much they can tell us. When Vermeer painted The Milkmaid, the amount of ultramarine he could use was written in the contract. How did that affect how he used it? When Turner experimented with Indian Yellow, he captured roaring flames that brought his paintings to life. If he had used a more ordinary yellow, would he have created something so extraordinary? And how did Warhol throw away the rulebook to change what colour could achieve? Structured chronologically, Colours of Art provides a fun, intelligent and visually engaging look at the greatest artistic palettes in art history - from Rafael's use of perspective and Vermeer's ultramarine, to Andy Warhol's hot pinks and Lisa Brice's blue women. Colours of Art offers a refreshing take on the subject and acts as a primer for artists, designers and art lovers who want to look at art history from a different perspective.

Thomas Hennell (1903-45) said his aim was to 'surprise his subject' - to capture the transient quality of the moment. In watercolour he found his perfect medium, producing work which was, as his fellow artist Edward Bawden said, 'fully expressive and technically perfect'. During an idyllic childhood in rural Kent Hennell discovered his love of the English countryside. He explored its fields, farms and woods, and later, travelling on a rusty old bicycle, developed an appreciation of England's traditions and crafts. Much of his work records the countryside in a state of change, imbuing his sense of loss with poetic intensity. In the early 1930s, Hennell suffered a severe breakdown and later described the three years he spent in mental hospitals in his memoir The Witnesses (1938), an astonishing document in a period when stigma still attached to mental illness. Hennell's remarkable talent for friendship survived his years of mental turmoil. Jessica Kilburn's new biography brings Hennell the man vividly to life through extracts from his letters to friends and personal accounts by people who knew him. As this richly illustrated book shows, the artist's final years were exceptionally productive. In 1943 Hennell was appointed an official war artist, yielding commissions in Iceland and northern Europe. After the pastoral evocations of inter-war England, his portrayal of war's brutality is shocking: devastated French towns, emaciated prisoners of war. At the war's end, Hennell received a final posting to the Far East. Tragically, he was caught up in the struggle for independence in Java and in late October 1945 disappeared in circumstances which Jessica Kilburn recreates more fully than in any previous account. Thomas Hennell was born into a remarkable generation of English artists that included Eric Ravilious, John Piper, Graham Sutherland and Barbara Hepworth. His peers regarded him as one of their finest creative talents; Jessica Kilburn's sensitive and deeply researched new biography restores this unjustly neglected artist to his rightful place in the history of twentieth-century English art.

The art market today is like a Monopoly game. There is an underworld of art secrets unknown to the public and many art experts around the world. This art collection was hidden away by the famous artist Picasso and his wife Jacqueline Picasso to keep them away from the hands of his illegitimate children, who today are in charge of the authentication certificates for the artist Picasso's artwork. This art collection is unique and has never been seen by anyone in the art world. Now, in this book, I am giving you the chance to see these unseen artworks, along with some amazing oil paintings by some of the other top artists in the world. Most of our Picasso paintings have been authenticated by Picasso himself or his wife Jacqueline. Some authentication was done in the artist's Barcelona museum, opened in Spain in 1963; others were authenticated on 18 February 1980 and 20 April 1982 by Jacqueline, with the help of Jon Miro and others. This is the story of one painting that will change history and show the facts, and what is known about Picasso's artwork, to the art world. This is a one-of-a-kind art discovery that will be registered in history as one of the biggest art discoveries made by one person. It will prove that this artwork, along with more than a hundred oil paintings and other artworks, was part of the private collection of Picasso himself and his wife Jacqueline. Their discovery will change history, revealing many unknown art secrets and never-seen-before oil paintings and artworks of the 19th century by Picasso and some of his favourite artists and best friends, like Georges Braque, Joan Miro, Fernand Leger, Piet Mondrian, Georges Rouault, Wifredo Lam, Henri Matisse, Ambroise Vollard, Claude Monet, Edgar Degas, Vincent van Gogh, Pierre-Auguste Renoir, and many more. This book will also reveal the secrets behind the Musee d'Orsay labels, stamps and red wax seals. This is not just a book; it is also an art catalogue of the never-seen-before artworks by some of the top artists in the world.

Provincial towns in Britain grew in size and importance in the eighteenth century. Ports such as Glasgow and Liverpool greatly expanded, while industrial centres such as Birmingham and Manchester flourished. Market towns outside London developed as commercial centres or as destinations offering spa treatments as in Bath, horse racing in Newmarket or naval services in Portsmouth. Containing over 100 images of towns in England, Wales and Scotland, this book draws on the extensive Gough collection in the Bodleian Library. Contemporary prints and drawings provide a powerful visual record of the development of the town in this period, and finely drawn prospects and maps - made with greater accuracy than ever before - reveal their early development. This book also includes perceptive observations from the journals and letters of collector Richard Gough (1735-1809), who travelled throughout the country on the cusp of the industrial age.

Rediscover a more child-like approach to creating with Drawing and Painting Imaginary Animals Through fun and creative exercises, Carla Sonheim teaches you to draw a variety of fun animals and creatures, including:

- Dogs

- Birds

- Elephants

- Fish

- Cats

- Rabbits

- And many others

You'll also find a variety of unique mixed-media techniques to help you bring your creatures to life, resulting in a unique finished art piece. Improve your drawing skills, expand your creativity, and learn new art techniques--and have loads of fun doing it --with Drawing and Painting Imaginary Animals.

As negentienjarige ryloper in Spanje beland Frank Westerman toevallig in die dorpie Banyoles, waar ’n opgestopte “Kalahari-Boesman”, slegs bekend as El Negro, uitgestal word. Sy indrukke bly hom by – en wanneer hy dekades later weer van El Negro lees, die keer in ’n Franse koerant, is dit die begin van ’n ondersoeksreis wat belangrike vrae oor rasopvattings en die Westerse beskawing na vore bring. Wie was hierdie naamlose man? Wat se sy opgestopte “museumteenwoordigheid” oor Europese denke oor slawerny, rassisme en kolonialisme – en bied hy slegs ’n spieel op ’n vergange tyd, of ook op die hede?